Funeral chapels were a common, purtenance of the church buildings, but have long since become obsolete and the old structures have decayed, so we know little of them. They were termed memorise and commemorated certain saints or martyrs. Two extant (both at Ra venna) are the mausoleum erected by Galla Placida for the remains of herself and her two sons, the Emperors Honorius and Valentinian; the other erected to the memory of Theodoric the Goth, raised by his daughter Amalasuntha. Most of the art productions of the catacombs and ancient Christian-Rome have been obliter ated by time, the extant remnants are in the Museum Christianum (Vatican) and in the descriptive work
Byzantine
The Byzantine church plan was a modification of the Roman basilica (see BASILICA) and we now have four naves of pillared avenues instead of one ; they are of equal length and breadth, at right angles, form ing a cross. In the centre, combining the terminations of the naves, arose the dome or cupola. (See BYZANTINE ARCHITECTURE). The Byzantine church edifice was adorned with mosaics. The floor was paved in the style termed opus Gracanicum (or Grcecum), while finer incrustations covered the ciboria (domes) and reading desks. A peculiarity of Byzantine (and contemporary) depiction is the representa tion of personages of superhuman power being given superhuman stature. Thus we see the devout paying homage in diminutive forms and the courtiers in pictures of emperors are pig mies. Monuments of Byzantine mosaic art are the 6th century work of the Holy Eucharist in the basilica of S. Apollinari di fuori (Ravenna) ; Transfiguration in the tribune of the same church ; another in S. Apollinari di dentro,
conquest (1206) and that of the Turks (1453) stifled and killed
art. Beautiful work was done in goldsmithing and enamels (see ART ENAMELS; GOLDSMITHING; for church plate, altar-pieces, see ALTAR) ; the emperors made great gifts of such work to the dif ferent churches. Carved ivories show more freedom of expression than, perhaps, other mediums. In viewing the work of the Byzantine artists we find a primitive method of expression which often belies the perfection of execution. Draperies are apt to hang in folds suggestive of a series of ropes; the facial expression is often crude to extortion. They are methods laid down rigorously by the church and rigid conventions are still, more or less, maintained in oriental ecclesiastical art in Russia and the Greek Church.
Romanesque (Lombard or tme).-- This is a cruciform ground-plan for churches; the nave or arm continuing West from the sanctuary is lengthened, transform ing into a Latin cross (+) the former Greek cross (+) plan. Three entrance doors are usual on the western front, mostly covered with sculpture. Over the central door a "Saint Catherine wheel') window is usual. Galleries of pillars or trefoils range themselves all around beneath the roof's eaves. Galleries of such pillars sometimes cover the western front, rising tier on tier reaching even to the pedi ment and engirdling the cupola. They are mostly for purely decorative purposes. The baptistery and the campanile (bell toWer) belonging to Lombard cathedrals are detached adjuncts of the church edifice. The arch is always round in pure Lombard architecture. (See ARCHI TECTURE). Early style is seen in the façade of S. Michele at Pavia; Victory of Saint George over central door; Jonah vomited by whale (right and left doors) ; diverse dragons, griffins eagles, sphinxes, snakes, centaurs, etc., all very crude. Better work is found to the left of the doorway of S. &none, Verona (two warriors charging) and King Theodoric to the right. Next period improves, as shown in monsters introduced in church pillars, often of admirable execution. Two lions on porch of S. Cyriaco, Ancona, perhaps are the finest in this style. Sometimes monsters appear on cathedral roofs, as the bronze hippogriff was, that is now in the Campo Santo, Pisa. All this was Teuton ele ment. Byzantine influence is shown in the work of Wiligelmus at Modena: the King Arthur bas-relief in the doorway near the Campanile; story of S. Gimignano on southern side of cathedral; Passion of Our Lord in the chapel. Contemporary is the Last Judgment bas-relief in the facade of the cathedral at Ferrara; Biduino's work (flourished about 1150) over baptistery door at Pisa; bronze door to Cathedral of Monreale (Sicily) by Bonanno (flourished 1174-86). Antelami's (flourished 1178-1206) Deposition in Parma Duomo is greatly admired. Mosaicists were considered as painters and held chief positions in art depiction till the Dominicans and Franciscans patronized the actual painters — Guido of Siena, Giunta of Pisa, Cimabue of Florence (master of Giotto), etc. Guido did the Madonna of S. Domenico (1221). Giunta did the decora tion of the Upper Church of the Franciscans at Assisi. Margaritone (architect, sculptor and painter) belonged to this period. Cimabue did the Virgin and Child in the gallery of the academy, Florence; worked on the Assisi Upper Church fresco decoration; did the crucifix now in the S. Croce sacristy, Florence, and painted the noted Madonna for the chapel of S. Maria Novella. Other painters were Buffalmacco, Florence (1311-55) ; Tomaso de Stefani, Naples (about 1230-1310) ; Filipo Tesauro, Naples (about 1260-1320) ; Bertolino of Piacenza and Niccolo of Reggio (flourished about 1260). Noted in this period were Fra. Giacomo da Turrita, the Cosmati, Pietro Cavallini, Andrea Tafi, Gaddo Gaddi, Andrea Orcagna, etc.